29 March 2007

ERAGON - Entretien avec Patrick Doyle par Christine Blanc

Dans l'empire d'Alagaësia, où le peuple vit dans l'ombre de la tyrannie du roi Galbatorix, Eragon, un jeune fermier découvre qu'il est le prochain "dragonnier", digne représentant d'une lignée de guerriers légendaires qui a toujours fait régner la justice dans le royaume. Avec sa dragonne Saphira, et guidé par son mentor Brom, Eragon va devoir affronter les bataillons terribles du roi. Le destin de l'Empire est entre ses mains...
Nos vaillants héros seront dignement accompagnés le long de leur périple par le valeureux compositeur, Patrick DOYLE qui a su donner une ampleur et une profondeur à cette amitié sans pareil.

Patrick Doyle, may you tell me about your training?
I studied at the Royal Scottish Academy.

Do you have any mentor?
I have no mentors other than the great composers and the wonderful world of art that currently surrounds us.

How did you come on ERAGON?
The opportunity of writing the score for Eragon was kindly offered to me by the director Stephan Fangmeier.

Why did you accept to do this film?
This was a fantastic project to be involved with, it is a terrific story and the writer is a very gifted young man.

How much time did you have to compose your score for ERAGON?
I spent many months composing the score for Eragon, liasing with the director, producers and members of the music team.

Who and why choose the London Symphony Orchestra? You often use British orchestra, why?
I love working with the London Symphony Orchestra, they create a fantastic sound and work extraordinarily well as a team of musicians although.

Did you use some electronic sounds in your score or was it all live?
I did use some electronic drum and ethnic instrument sounds.

What about your orchestration work? How did you work with James Shearman and Geoff Alexander?
I love working with orchestrator James Shearman, with whom I have worked for many years. He is a very talented man and a great friend. Similarly, Geoff is an extremely gifted orchestrator and I thoroughly enjoyed collaborating with him on this project.

How did you work, and with what request from the crew ?
I worked closely with the director and producers. There was a temp score comprised mainly of my music.

For you what are the roles of music in Eragon?
The role of music within Eragon is to enhance the drama and high action.

How would you describe your music for the film?
May you tell me about the main theme you used?
The main Eragon theme is sweeping and heroic, yet there is another theme for Durza which is dark and foreboding for obvious reasons. Violins are the backbone of an orchestra and that is why they are so prevalent.

What did this experience on Eragon brought you
- personally?
- as a composer?
Eragon brought me great fun and the chance to work with a great orchestra and a fantastic team. I take each new project as it comes and am always open to new ideas. The whole experience was thoroughly enjoyable.

May you tell me about Maggie Rodford? How did you work with her?
And your work with Lucy Evans the assistant score coordinator?

I have worked with Maggie Rodford and Lucy Evans for many years. They are both colleagues and friends and I rely on them very much to help coordinate both my life and my work.

What is your relationship with France, French Movies, French Music…?
I love the French, I love France and I love spending time at my house there. Pars Vite et Reveins Tard opened to terrific reviews and a great audience response in France. Regis Wargnier is a fantastic person to work with and I am thankful that he has become a very close family friend.

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15 March 2007

Tyler BATES, 300 fois plus puissant - Entretien par Christine BLANC

Tyler BATES enchaîne les contrats à tour de bras depuis quelques temps. Il a déjà parcouru du chemin depuis que nous l'avions interrogé sur The Devil's Rejects pour Rob Zombie en 2005.
Les films pour lesquels il compose sont souvent caractérisés par une atmosphère dérangeante, violente voire horrifique: The Devil's Reject, Slither, Dawn of the Dead, 300,... Ses collaborations réussies avec des réalisateurs "chocs" comme Zac Snyder, James Gunn ou encore Rob Zombie lui ont permis d'évoluer musicalement et ainsi de trouver sa place dans le milieu de la musique de film. Il nous parle aujourd'hui de sa partition pour le très attendu 300. Et nous devrions le retrouver prochainement pour ses compositions à venir: Halloween 9 de Rob Zombie, Day Of The Dead, Resident Evil Extinction et Six Bullets from Now.

Please, Mister Tyler, how would you personally introduce yourself?
Tyler BATES- I love American and European films from the 70’s. ‘Klute’ is a personal favourite of mine. I have really gotten myself into reading Cormack McCarthy books. He manages to tell the darkest tales in the most beautiful voice.

May you tell me about your training?
I am musically self-taught. I have opened many books over time, but the majority of my musical training comes from playing in rock bands, producing records, and song-writing. I did learn to read music at an early age when I joined the school concert and marching band! Went on to play in several rock bands, recording records, and touring. This has had a great impact on my appreciation of the opportunity I have to make music for films.

What are your musical influences? Do you have any mentor?
I don’t have a mentor. I have loved all styles of music since childhood. I am truly fond of artists like Brian Eno, Georgy Ligeti, Krzysztof Penderecki, and Bernard Herrmann, to name a few.

How did you come to music?
My mother gave me an impassioned introduction to music from the time I was born. She would buy several albums each week in all genres of music. I was always drawn to music – listening to it, and reading the album liner notes. Strangely enough, the soundtracks for ‘Jesus Christ Superstar’ and ‘Hair’ left an indelible impression on my mind. The arrangements interested me as much as I was touched by the raw emotion of those albums. I always paid attention to arrangements and production quality. I knew from very early on that music was my way of life.

Among all your scores, what are the ones you like the most?
I don’t much revel in my own work. By the time I deliver a score, I have corrected my mistakes in my head. Of course this occurs after it becomes too late to make adjustments to the music! Hindsight…I am fond of the score for “Dawn Of The Dead,” and of course “300.” There are others I feel pretty good about, but I suppose these come to mind because I was at the ‘300’ premiere last night. It was a lot of fun, but this morning came around too quickly. I am sure I am making little sense with my responses. (LOL)

When you compose for a film, where do you take your inspiration from? The story, the pictures, the characters?
I am most inspired by reading the films’ script, then ultimately, looking t the film and its characters. It is always my goal for the music to not only support the story, but to become an extension of the film itself. Once I have viewed actual film footage, I then consider tonal colours that will inherently work in support of the film’s style and attitude.

What is your relation to the films you score?
It is most important for me to allow a film to “steep” for a bit once I have seen it. This gives me an opportunity to contemplate the film on a technical level, but also presents the opportunity to form a unique feeling towards the film and it’s vibe. When I was a kid, each new album I put on my turntable felt unique unto itself. It was as though the music coloured my environment. This was very influential on how I open myself to music. I try to do the same with film. I ensconce myself in the world of each film I work on, which is a clear statement of why I could benefit from having my head shrunk, in consideration of the films I have created music for.

How did you come on the 300 project?
I scored “Dawn Of The Dead” for Zack Snyder in 2004. We had a great experience working together. When he began putting together his presentation in effort to get ‘300’ backed by a studio, he asked me to create music for the film. It began with an animatic Zack created by filming the actual pages of the Fran Miller graphic novel. Scott Glenn narrated the story of the ‘300’ backed by my music. Once Warner Bros signed the project, Zack did a live-action test shot to illustrate the exact filming style and content. I also scored this project, which really enabled me to further develop the sound of the film. We continued from there once filming began. It was a long haul, but a tremendous experience working with the entire group Zack enlisted to make the film.

How would you describe your score for 300?
I definitely think the score is abstract as it is traditional. It can be a bit of an acid trip at times, but the most important element seems to be inherent in the music throughout, and that is soul. Some film score journalists have gotten the impression that it is among the most aggressive of scores for an epic movie. This was not a conscious attempt on my part. I did what I thought the picture needed, and of course, everything I could do to help Zack express this story as acutely to his vision as possible.

What was your approach to the film?
Honestly, it was always both thematic and atmospheric. I find the atmospheric motifs to be thematic in their own way. There is a very specific “feeling” to the ambient aspect of the score. I was truly excited to finally score a film that asked for broad emotional music in equal measure to the abstract contingent.

How much time did you have to compose your score?
I cannot say exactly how much “writing time” I had on this film because there was always a great deal of catching up to do as the visual aspect of the film developed along the way. This required constantly revisiting the score and updating the music as it was informed by the newest images. There were also several “temp dubs” to prepare the film for various screenings. I mixed and delivered my score to each of these, which was rather time-consuming. That said, I probably wrote the music in five months.

Can you tell me about the conditions of recording of the score?
We recorded the orchestra in London, at Abby Road. My fixer, Isobel Griffiths, contracted a great orchestra of players from London. We did not have a large budget, so all of the orchestra and choir was recorded in three days total. The orchestra and choir lives side by side in this film with ambient sound design and individual musical colourists. I recorded the solo performances as I wrote the music. This enabled me to develop the performances to be as natural and substantive as possible. Much like making a record.

Do you have any anecdotes about the process to tell us, funny or interesting things?
It was good fun. I am probably too tired to think of stories to tell.

How did you work with the crew ?
I don’t much like temp scores. They have become a necessity in modern times, especially in relation to films of this nature. It would be beyond difficult to edit the picture with only blue screen and no music. The problem for a composer is always that the longer the temp music lives in the picture, the more everyone becomes comfortable and ultimately fond of the temp. It is always my goal to write as much music as quickly as possible to replace the temp before “temp love” sets in. You have to be careful not to submit music that is not up to that standard because they will continue to use the temp until the score demo is stronger. Once a film tests for an audience, the temp becomes even more powerful an influence on what the director and studio want from the composer, especially if the music scores high points with a test audience. This is an issue all composers are faced with from time to time. Once “temp love” is present, it takes time to get people used to “original” music. The trouble ends up being that you win some battles and then you run out of time. This is generally when a composer is asked to do seriously consider the temp music. At the end of the day, one has to accept that film scoring is not a pure art form. I feel that you should approach the craft as artfully as possible, but the music itself is but a colour in the entire scope of a film. This is definitely the most frustrating aspect of scoring movies, but I understand it. I am fairly sure that most of the film score appreciators are not aware of the many caveats a composer faces in the process of creating the score for a big film; especially a film like ‘300,’ where there are so many contingencies that affect the musical requirement of the film.

Can you tell me about your relation to Zack Snyder, the director of 300?
I met Zack with “Dawn Of The Dead.” We have had a fantastic working relationship. He has since asked me to write the music for his next film, “Watchmen.”

What is your connection with the subjects of the film?
One cannot take ‘300’ as a literal expression of the current geopolitical landscape. Personally, I hope people ask themselves what they are willing to do for a cause they believe in effort to create a more harmonious planet. It would be nice if human life on Earth were not to be extinguished in the near future. In regards to ‘300,’ it is a graphic novel staged 2500 years ago. It is not a literal interpretation of historical events, or a commentary on modern-day Persian society. The lead vocalist of the score is Azam Ali, who is Persian. Ultimately Azam had a little trouble with the depiction of her ancestors in the film, but she clearly understands that this is not a commentary on Iranians. I deliberately avoided creating a “good guy-bad guy” sensibility about the score. I anticipate the audience of this film with understand its context, and appreciate the tremendous soul that Azam’s presence brings to the music.

For a new project, if you could choose a genre, a kind of story and a filmmaker, what would they be?
I am so happy to work with Zack Snyder. The scope of his film career will touch on nearly every human emotion and dynamic before his work is done. The possibility of being a part of that is as good as it gets. Would most-definitely welcome non-violent films. A drama would serve me well. I am currently in the finishing stages of “Day Of The Dead.”

Do you have any other projects to come?
I will begin working with Rob Zombie on his “Halloween” film, which is highly disturbing, from what I have seen thus far. I have a couple projects coming up afterwards; “Resident Evil:Extinction,” and “Six Bullets From Now,” with director Stephen Kay, whom I love working with.
Do you have a specific message to add?
Please go to see “300!”


La musique de 300 a été composée et produite par Tyler Bates, qui avait déjà collaboré avec Zack Snyder sur L'ARMÉE DES MORTS.
Snyder demanda une partition de grande ampleur célébrant l'héroïsme et le sacrifice des Spartiates. Bates créa un vaste paysage orchestral et choral, doté d'une palette tonale inusitée. Azam Ali, chanteur d'origine iranienne, apporte à la voix de Sparte et à la menace perse une fascinante touche d'exotisme et une présence envoûtante.

"Je me suis efforcé d'être fidèle à l'inspiration du film en exaltant la détermination, le sens du sacrifice et la soif de liberté des Spartiates", indique Bates. "Le principal challenge fut de tisser une trame musicale continue pour une œuvre visuellement très riche et très diverse. Il me fallut en soutenir la dimension épique et l'impact émotionnel en me montrant aussi inventif que le film lui-même."
Snyder ne tarit pas d'éloges sur son compositeur : "Sa partition confère une résonance mythologique à 300. Elle parachève notre travail visuel en donnant à ces images une force qu'elles n'auraient pu avoir par elles-mêmes."
Et le réalisateur de conclure : "Nous avons dû affronter quantité de défis en portant à l'écran l'œuvre de Frank Miller. Personne ne s'y est jamais dérobé. Des acteurs aux producteurs et à l'ensemble de l'équipe, tout le monde a toujours été à mes côtés et au service du film. 300 n'aurait jamais pu se faire sans leur concours. Ils ont tous été prodigieux."

Adapté du roman graphique de Frank Miller, 300 est un récit épique de la Bataille des Thermopyles, qui opposa en l'an - 480 le roi Léonidas et 300 soldats spartiates à Xerxès et l'immense armée perse. Face à un invincible ennemi, les 300 déployèrent jusqu'à leur dernier souffle un courage surhumain ; leur vaillance et leur héroïque sacrifice inspirèrent toute la Grèce à se dresser contre la Perse, posant ainsi les premières pierres de la démocratie.
Les Spartiates furent de redoutables guerriers, à qui l'on avait appris à ne jamais reculer devant l'ennemi, à ne jamais se rendre. Ils forment l'une des cultures les plus originales et les plus énigmatiques de l'Histoire.
"Ils demeurent à bien des égards un mystère", affirme Frank Miller, auteur du roman graphique "300" qui inspire ce film. "Ils sont sans doute le seul peuple qui ne vécut que pour se battre. La guerre était le fondement de toute leur civilisation. Le code d'honneur très strict dont ils se réclamaient forgea une classe de héros sans équivalent."

Merci à Isabelle TARDIEU - Warner Music

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07 March 2007

Jane Antonia Cornish: Five Children & It - Solstice - Island Of Lost Souls - So Goes The Nation. Interview par Christine BLANC

C'est avec beaucoup de plaisir et de fierté que nous vous présentons aujourd'hui une jeune et talentueuse compositrice pleine d'avenir. Jane Antonia Cornish a 31 ans, elle est d'origine Londonienne mais vit désormais à Los Angeles. Elle commence son travail de compositrice avec FIVE CHILDREN AND IT en 2004 et se voit décerner en 2005 un prix (meilleur nouveau compositeur britanique) par la BAFTA (les Oscar anglais) pour la musique de ce film. Elle est par ailleurs la première femme à se voir décerner cette récompense. Depuis elle enchaîne en 2006 la compostion de la musique des films ISLAND OF LOST SOULS et SOLSTICE, et en 2007 avec la musique du documentaire SO GOES THE NATION. Encore peu re-connue en France, Jane a le potentiel d'un futur John Williams.

First I wanted to tell you how I appreciate your music.
Jane Antonia Cornish: Thank you very much!

Please, Miss Cornish, how would you personally introduce yourself?
I studied violin and composition at the Royal Northern College of Music and the Royal College of Music in London. I came to Los Angeles to pursue film music about 5 years ago, and I’ve been working here ever since.
I have a deep passion for epic orchestral music, and film music is the greatest embodiment of that genre. I am beginning work on a symphony for the Danish Radio Symphony Orchestra, who played my score for ‘Island of Lost Souls.’ They are an amazing ensemble, and I’m thrilled to be writing something for them.
I am a huge fan of modern and contemporary art, and go to museums every chance I get. I just finished reading a biography of Andy Warhol, one of my favourite artists at the moment.

You’re one of the youngest composers of the moment. How old are you? And do you think it is a good or a bad thing in the cinema community?
I’m 31. My age is less an issue than my gender, I’m afraid. I find myself frequently having to explain that I am a serious composer, and not the singer in some pop band! I plan for that to go away soon as more people get to know my name and my music.

What are your sources of inspiration when you compose film music?
I’m mostly inspired by contemporary classical concert music. I just discovered the early symphonies of Penderecki, which are both modern and highly emotional. Naturally I respect John Williams, who I think has always written brilliant music.
As a child I grew up listening to the music of Wagner, Mahler, Bruckner and the masters of romantic music. I’m sure their music has continued to inspire me throughout my life.

Do you have any mentor?
I’ve had many great teachers, and many people in film music as close friends. But I don’t believe I have any one mentor. I’ve learned from all the people around me.

May you tell me about your training?
I’ve spent every day from as early as I can remember playing and writing music. It’s something that has been inside of me from the start. I planned to be a classical solo violinist, but at age 19 I switched to composition as my main study. I completed my degrees in composition at those wonderful conservatories – The Royal Northern College of Music and the Royal College of Music. There was a course in film music there where I learned about using electronic gear for composing to film and doing mock-ups of the orchestra.

Among all your scores, what are the ones you like the most?
My score for ‘Island of Lost Souls’ is my favourite. The director wanted epic, bombastic music throughout, which is a terrific opportunity to do what I love the most. They gave me a 100 piece orchestra and a full choir for the recording which was a great pleasure to have.

When and how did you come to work in film music?
I broke into film composition when I moved to Los Angeles. I began orchestrating and got "5 Children and It", my first major feature film through a recommendation of a music producer friend who was working on a song with Sean Lennon for the end titles.

What do you feel when you’re composing and what do you like in this process?
I lose all sense of time when I am working. The music becomes everything around me. I empathize with the characters in the story and I get my ideas from those feelings.

How would you describe your score for FIVE CHILDREN AND IT?
I would describe it as a magical fantasy. The director, John Stephenson, said ‘don’t hold back,’ and so I wrote the score to feel very big and emotional. It centres around a group of brothers and sisters and this strange creature that can grant their wishes. So there is some whimsy there. But it takes place during WWII and so there is a darkness and sadness as the children wait to see if their father returns. That mood was captured in the themes as well.

This is a much, much darker and serious fantasy score. The director saw the film as being for families, but wanted a sophisticated and adult score. I began by writing themes for each of the main characters in the story, which come back in many different forms throughout the score. I utilized the orchestra to create some very rich colours and haunting effects, so it’s not just about melodies here. The score covers a great range of emotions and moods. It is a very brooding piece of music, but with a great deal of energy for the plot.

It’s a very different score from the others. This is a documentary, and there is speaking throughout. So the music needed to be much simpler and sparse. There are aspects of minimalism in the use of interlocking rhythms in various parts of the orchestra. I had to keep the music neutral and not too emotional so that the film’s subject felt more even handed. My job was to not take sides in the political happenings of the film.

May you tell me about your technical approach?
This score is unabashedly thematic and melodic. The director wanted a memorable theme right from the start to establish the film’s mood. While there were a few cues of an atmospheric nature, there are themes and motifs running through almost every moment of the score.

Did you choose special instruments for the score?
5 children has a traditional orchestra and choir as the main component of the score. No special non-orchestral instruments in there at all. I wanted the score to feel classic. As it was about magic and fantasy I included a great deal of celesta, glockenspiel, harp and choir – which blended to give the score a shimmery, magical quality.

How much time did you have to compose your score, and with what budget?
The film had already commissioned a score from another composer, but that score was thrown out. I came in with almost no time to get the score done. I wrote the score beginning to end in 12 days. And while I had always intended for it to be recorded with a live orchestra, there was simply no time for it. So my electronic orchestra was carefully mixed and mastered, and that is the final soundtrack. I was sorry to not have the live ensemble – it makes such a huge difference in how the music sounds, but there was nothing to be done.

Do you have any anecdotes about the process to tell us, funny or interesting things?
It was the easiest and most enjoyable project. The director and I connected right from the start and he approved virtually every note the first time. And with only 12 days to score a music heavy feature there was no time for anything funny or interesting to happen!

How did you work, and with what request from the crew ?
I only worked with the director, whose main instructions to me were to ignore everything in the temp score, and do something completely original.

What do you personally think about the subjects of the film?
I read E. Nesbitt stories as a child, and it was a treat to put one of my favourite stories to music. Kenneth Brannagh and Eddie Izzard, the leads of the film are also favourites of mine, and little Freddie Highmore is such a terrific young actor.

Are you interested in family films?
Since doing ‘Island of Lost Souls’ I am mostly interested in finding darker stories to tell. While I appreciate and enjoy music for lighter films, it is in the more deeply resonant places in music I am most drawn.

What did this film change in you & for you?
This was my first feature film, and so it was my debut, of sorts, as a film composer. It gave me a thrill to see my work on the screen for the first time, and so I will remember that always.

Why was your score for five children & it not published as a cd?
There was so little time from when I wrote the score till the film’s release to get a CD out in time. I tried to get a deal, but the film’s release was too close.

You are working on three projects: SO GOES THE NATION & ISLAND OF LOST SOULS & SOLSTICE? May you tell me about them?
I think I’ve said a good amount about ‘5 Children,’ ‘Island of Lost Souls’ and So Goes The Nation." My most recent scoring assignment is Solstice, a scary thriller. This score is also very different from the others, using more unusual colours and effects and less thematic materials. It’s very textural and creepy. I worked with a string ensemble and wrote all kinds of strange effects using a number of extended techniques. As the film takes place in the swamps of Louisiana, I had my brother Alex play slide guitar, and avant garde effects to create a haunting sounds reminiscent of music from the American south.

Do you have any other projects to come?
I’m working on the symphony now, and hope for it to be premiered some time in 2008.

Do you have specific message to add?
Thank you very much for asking me to be a part of this.


Pour échapper aux dangers de la guerre et attendre le retour de leur père aviateur, cinq enfants sont envoyés chez leur oncle, un écrivain excentrique qui vit dans un immense manoir sur les côtes anglaises.Désobéissant aux instructions qui leur ont été données, les cinq frères et soeurs visitent une pièce interdite et découvrent un passage secret. Celui-ci les mène à une étrange créature, le génie des sables, qui semble pouvoir exaucer leurs voeux les plus fous...Espionnés par leur redoutable cousin, les cinq enfants vont vivre mille aventures incroyables, magiques et merveilleuses, jusqu'à ce qu'un danger menace ceux qu'ils aiment plus que tout...

Durée: 86 mn
Réalisateur: John Stephenson
Acteurs: Freddie Highmore, Zoë Wanamaker, Kenneth Branagh, Jonathan Bailey, Jessica Claridge, Poppy Rogers, Tara Fitzgerald

Scénario: David Solomons
Musique: Jane Antonia Cornish
Editeur: Seven7
Sortie en salle: 20/10/2004
Sortie en DVD: 07/07/2005


Un documentaire sur la campagne menée par les candidats John Kerry et George W. Bush lors des élections présidentielles de 2004 aux Etats-Unis

"…SO GOES THE NATION" examines America's tumultuous electoral process through the eyes of diverse politicians, activists, and voters. The 2004 presidential election between George W. Bush and John Kerry provides the stage, showing how the voting public is manipulated by both parties’ leaders and their political marketing machines. Political activism and the thoughts of voters themselves are revealed in the ultimate cross-section state: Ohio.
In addition to interviewing American voters and grassroots campaigners, filmmakers James D. Stern and Adam Del Deo gained unprecedented access to high-ranking Republican and Democratic campaign strategists and officials. From the Republican end of the political spectrum, the documentary features exclusive interviews with Edward Gillespie (Chairman of the Republican National Committee), Ken Mehlman (Bush’s 2004 campaign manager), Matthew Dowd (Bush’s chief campaign strategist), and Mark McKinnon (Bush’s media strategist). Balancing out the picture are insights from their Democratic counterparts: Terry McAuliffe (Chairman of the Democratic National Committee), Mary Beth Cahill (Kerry’s 2004 campaign manager), Tad Devine (Kerry’s chief campaign strategist), and Paul Begala (a senior democratic advisor). "…SO GOES THE NATION" documents the role played by these powerful individuals in promoting hot button issues to the forefront of the political process and in doing so, how they attempt to shape public opinion and swing an election.
In the final two weeks of the election, the filmmakers sent fifteen camera crews crisscrossing Ohio, a battleground state that has consistently lived up to its familiar political axiom: "As goes Ohio - so goes the nation." Historically, the political and social status quo of Ohio is indicative of the American voting public at large and Ohio has been the center of the political maelstrom many times in its short history: In fact, since 1960, every President to reach office has carried the state. In the entirety of U.S. history, Republican candidates have never taken a Presidential election without winning in Ohio.
"…SO GOES THE NATION" looks at the election and the voting public through lenses large and small, and in doing so, examines both the U.S. voting process and the American national psyche. The documentary ultimately provides a rare and unique opportunity to show the real electoral story of democracy in action.

Music from 'Island of Lost Souls' can be heard here: www.janeantoniacornish.com

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